In a native land where the work of greatest in quantity artists seems to have absorbed a foreign discourse or theory rather than developing its acknowledge Guillermo Kuitca is a major exception.

In a native land where the work of greatest in quantity artists seems to have absorbed a foreign discourse or theory rather than developing its acknowledge Guillermo Kuitca is a major exception. Kuitca, one time the child prodigy (as obsessively portrayed in many of his previous pieces) has coherently and besides paradoxically exhausted his life in his work. This present to view included a comprehensive view of his oeuvre from his first paintings--crucially influenced by means of Pina Bausch's dance theater--to his greatest in number recent works, which included a specially designed installation in which many small cradles, with mattresses onward which maps had been painted, were used to build labyrinthine pathways in the middle of a large room

While Kuitca's first works used language with proper states somewhere between the symbolic and the banal, showing a actual intimate and personal perception of space, later pieces incorporated fresh ways of reading, defining, and understanding the same universal of space--through abstract description like as maps or floor plans--while still combining and using almost each available code: literary, musical, cinematic, theatrical. His themes rotate around the fragility of childhood, vulnerability, the conflicting constituent principles of adolescence, and the constraints and constantly felt nearness of time.

The bed, as an ordinary, conflicting, and ambiguous piece of furniture has been a first note of the scale element in his work since 1982 the two intimate and public, the bed and its associated elements--mattresses, cradles, blankets--are loaded with connotations: pleasure and life, unhappiness, isolation, the death bed, and in the same manner on. This is where everything started and to which everything replys Kuitca has painted beds, painted upon beds, and painted with beds, placing his art within the thin boundary that separates private and public. Viewers are treated as voyeur at the same time that they are forced to awe whether their own privacy has been violated. Beds are an excuse to portray the significance after; in most of his paintings, the human beings are in extent gone. No narrative is moveed as an explanation. The "stage" series is above all about absences. His paintings translate a timeless signification asking how long memories last in a particular space and to what degree much they depend on it.

In his later works, Kuitca incorporated lyrics of popular carols such as '"Bridge over Troubl Water" and "Strawberry Fields Forever." Simpler and more poetic images have also made the narration more cryptic. His experimentation has been directed more at the plasticity of forms than at the narrative ingredient formerly so important in his work; plane the titles have become more austere. Kuitca's more introspective vision has issueed in an increasingly poetic now egocentric work, in which communication and interpretation become more difficult and therefore freer

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